Literatura científica selecionada sobre o tema "Clara y Mario (Musical group)"

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

BackgroundSpondyloarthritis (SpA) and Inflammatory Bowel Disease (IBD) share some common pathogenetic pathways and a broad spectrum of clinical manifestations, laboratory and imaging features. How intestinal involvement affects SpA clinical and biological aspects remains unexplored and can be help in the SpA and IBD management.ObjectivesTo define immunological and synovial and bowel tissues characteristics in SpA associated or not with IBD.MethodsForty-one SpA patients (22 SpA+IBD+ and 19 SpA+IBD-) and 50 IBD patients (control group, SpA-IBD+) were enrolled. Both category presented patients at beginning of a new biologic treatment. Upon enrolled, demographic, clinical and ultrasound features were collected for each patient. Peripheral venous blood and faecal samples were collected for each patients to determine IL-17A, TNF-alpha and sTREM1 plasmatic level and intestinal microbiota respectively. Moreover, patients with SpA underwent to the biopsy of the synovial membrane in order to assess the degree of inflammation, according to the Krenn Score (KSS).ResultsConsidering intestinal involvement, SpA+IBD- showed a tendency of more severe synovitis grade compared to SpA+IBD+ (KSS: 3.00 (1.25-4.75) vs 1.50 (1.00-3.00) respectively, p: 0.059) and, considering SpA whole cohort, KSS directly correlated with inflammatory status assessed by CRP level (R: 0.540, p: 0.001). Considering the SpA and IBD whole cohort, articular and intestinal involvement affect cytokines levels independently from treatment: sTREM1 level was higher in SpA than in IBD (413 (247-563) vs 290 (220-344) pg/ml respectively, p: 0.003) and IL-17A level in SpA+IBD- vs SpA-IBD+ (0.49 (0.25-0.97) vs 1.00 (0.50-2.05) pg/ml respectively, p: 0.041), with direct correlation between sTREM1 and the clinical and synovial tissue aspects. Finally, regardless of intestinal involvement, SpA presented peculiar species richness and overall faecal microbiome composition compared to SpA-IBD+ with a significant difference between alpha and beta difference between these groups (p: 0.003 and p: 0.001 respectively).ConclusionSpA associated with the intestinal involvement present specific cytokines profile, synovial tissue features and faecal microbiome composition compared to SpA without IBD. These peculiar features can help in the management of SpA with or without intestinal involvement.REFERENCES:NIL.Acknowledgements:NIL.Disclosure of InterestsSimone Perniola Speakers bureau: ABBVIE, ELI LILLY ITALIA, GALAPAGOS BIOPHARMA, PFIZER, NOVARTIS, Consultant of: ABBVIE, ELI LILLY ITALIA, GALAPAGOS BIOPHARMA, PFIZER, Barbara Tolusso: None declared, Clara Di Mario: None declared, Daniela Pugliese: None declared, Dario Bruno: None declared, Marco Gessi: None declared, Laura Parisio: None declared, Giuseppe Privitera: None declared, Luisa Guidi: None declared, Stefano Alivernini Speakers bureau: ABBVIE, ELI LILLY ITALIA, PFIZER, NOVARTIS, Consultant of: ABBVIE, ELI LILLY ITALIA, PFIZER, NOVARTIS, Grant/research support from: PFIZER, Elisa Gremese Speakers bureau: ABBVIE, ELI LILLY ITALIA, PFIZER, NOVARTIS, Consultant of: ABBVIE, ELI LILLY ITALIA, PFIZER, NOVARTIS, Grant/research support from: ABBVIE.

Background:The regulation of inflammation is a dynamic process involving several molecules as lipid mediators. The Specialized Pro-resolving Mediators (SPMs), such as Resolvin (RvD and RvE), Protectins, Maresins and Lipoxin A4 (LXA4), are bioactive metabolites of omega-3 and omega-6 fatty acids which drive inflammatory resolution phase and promote tissue repair. ERV, ALX/FPR2 and BLT1 are SPM receptors. Although in Rheumatoid Arthritis (RA) lipid mediators role within pathophysiology is under definition, studies on SPMs receptors role are still lacking in this disease.Objectives:Purpose of this study is to define ERV, ALX/FPR2 and BLT1 expression in blood derived leukocytes and synovial cells and to correlate it to disease activity to define SPM receptors ad inflammatory resolution biomarkers in RA patients.Methods:A cohort of 52 RA patients was enrolled in the study of which 40 with active disease (DAS28= 5,35 (5,18-6,40)) and 12 in sustained remission status (DAS28= 2,1 (1,83-2,42)). Each enrolled patient underwent peripheral blood (PB) drawing and 46 of them underwent US-guided synovial tissue (ST) biopsy. FACS gating strategy was used for PB and ST processing to evaluate percentage of positive cells and the mean fluorescence intensity (MFI) of ERV+, ALX/FPR2+and BLT1+in CD45+CD3+, CD45+CD19+for PB and ST, CD45+CD14+and neutrophils for PB only and CD45-CD90+, CD45+CD64+CD11b+macrophages (distinct in CD206+and CD206-subpopulations) for ST only. Each included ST was stained with haematoxylin/eosin and categorized by a pathologist, blinded to clinical characteristics, using the Krenn Score (KS) to assess ST inflammation degree. As control group, 11 undifferentiated peripheral inflammatory arthritis (UPIA) patients were enrolled in the study.Results:Considering the whole RA cohort, DAS28 inversely correlated with BLT1+positive cells on ST-derived CD45+(r= -0.48; p= 0.048), CD3+(r= -0.56; p= 0.019) and CD19+(r= -0.49; p= 0.042) cells, in contrast with CD90+(r= 0.50; p= 0.041) cells. Similarly, both DAS28 and KS inversely correlated with ALX/FPR2+positive cells in ST-derived CD45+(r= -0.42, p= 0.050 and r= -0,41, p= 0,046 respectively) cells. Evaluating the MFI levels of the SPM receptors along all RA stages (naïve-to-treatment, resistant-to-treatment, sustained remission) compared with UPIA control group, interestingly ST-derived CD45+cells of remission RA were depleted of ERV1 compared to naïve-to-treatment RA (p=0.04), despite comparable ST inflammation. Furthermore, highest ERV1 expression was found in ST-derived CD45+CD3+and CD45+CD19+cells in naïve-to-treatment RA compared with UPIA patients (p= 0,045 and p= 0,012 respectively). Moreover, the lowest BLT1 level was found in remission RA CD3+cells compared with UPIA and naïve-to-treatment RA patients (p= 0,008 and p= 0,023 respectively).Conclusion:SPM receptors expression seem to be tightly related to disease activity in the synovial tissue, suggesting an important involvement in the inflammatory process in RA patient.References:[1]Serhan CN. Nature, 2014.[2]Alivernini S, et al. Arthritis Res Ther 2016[3]Krenn V et al. Histopathology, 2006.Disclosure of Interests:Simone Perniola: None declared, Stefano Alivernini: None declared, Barbara Tolusso: None declared, Maria Rita Gigante: None declared, Marco Gessi: None declared, Clara Di Mario: None declared, Luca Petricca: None declared, Annunziata Capacci: None declared, Anna Laura Fedele: None declared, Gianfranco Ferraccioli: None declared, Elisa Gremese Speakers bureau: Abbvie, BMS, Celgene, Jannsen, Lilly, MSD, Novartis, Pfizer, Sandoz, UCB

BackgroundRheumatoid arthritis (RA) is a chronic disease characterized by a high degree of disability and pain. Remission is the optimal goal but, even when it is reached, the pain can persist as “residual pain”.ObjectivesThe aims of the study were (i) to characterize the size and perception of residual pain and (ii) to evaluate the possible impact of residual synovitis on pain perception in remission RA patients.MethodsOne hundred twenty-seven RA patients (defined by 2010 ACR/EULAR criteria), of which 68 in clinical and ultrasound remission (REM-RA) and 29 in high disease activity (HDA-RA) defined by DAS28-CRP were enrolled in the study. Thirty fibromyalgia patients (2016 ACR criteria) were enrolled as a control group (FIBRO). Upon enrolled, demographic, clinical and ultrasound features were collected for each patient and an assessment of pain symptom was performed for each patient according to the RAID, FACIT, GHQ and VAS-pain questionnaires. Patients with RA underwent minimally invasive ultrasound-guided biopsy of the synovial membrane of the knee in order to assess the degree of synovitis, according to the Krenn Score (KSS).ResultsConsidering the RA group, the synovitis degree is directly correlated with the life quality and disability, as demonstrated by the inverse correlation between FACIT and DAS28-CRP (R2=-0.506, p<0.0001). Furthermore, considering the pain mental aspects, the total GHQ score (R2=0.407; p<0.0001) and the VAS-pain scale (R2=0.402, p<0.0001) are instead directly correlated to the DAS28-CRP in RA patients. Since GHQ value ≥24 identifies a subject requiring psychiatric attention, a higher score was found in 26% of REM-RA patients compared to 52% (p=0.004) and 77% (p<0.0001) in the HDA-RA and FIBRO groups respectively while, considering the VAS-pain, the REM-RA patients had lower values (20) compared to HDA-RA (50; p<0.0333) and FIBRO (70; p<0.0001), suggesting how the underlying pathology could affect psychological well-being and pain perception. Further confirmation was obtained with the RAID questionnaire: REM-RA patients presented lower scores (3.34) than HDA-RA (5.56; p = 0.0003) and FIBRO patients (7.63; p <0.0001). Finally, considering the synovitis degree, the presence of subclinical synovitis (KSS≥2) in REM-RA patients (50%) was not associated with a higher pain score, assessed by VAS-pain, suggesting the possible non-inflammatory nature of residual pain.ConclusionRemission status in RA is associated with a better psycho-physical state than in HDA patients but, despite that, there is the persistence of a certain degree of residual pain, regardless of the subclinical synovitis degree. It emerges that the features of pain in patients in remission is different from other conditions (high disease activity or fibromyalgia), suggesting different underlying biological mechanisms.REFERENCES:NIL.Acknowledgements:NIL.Disclosure of InterestsSimone Perniola Speakers bureau: ABBVIE, ELI LILLY ITALIA, GALAPAGOS BIOPHARMA, PFIZER, NOVARTIS, Consultant of: ABBVIE, ELI LILLY ITALIA, GALAPAGOS BIOPHARMA, Luca Petricca: None declared, Marco Gessi: None declared, Maria Rita Gigante: None declared, Martina Calabretta: None declared, Dario Bruno: None declared, Annunziata Capacci: None declared, Clara Di Mario: None declared, Barbara Tolusso: None declared, Stefano Alivernini Speakers bureau: ABBVIE, ELI LILLY ITALIA, PFIZER, NOVARTIS, Consultant of: ABBVIE, ELI LILLY ITALIA, PFIZER, NOVARTIS, Grant/research support from: PFIZER, Elisa Gremese Speakers bureau: ABBVIE, ELI LILLY ITALIA, GALAPAGOS BIOPHARMA, PFIZER, NOVARTIS, Consultant of: ABBVIE, ELI LILLY ITALIA, PFIZER, NOVARTIS, Grant/research support from: ABBVIE, PFIZER, NOVARTIS.

Background:Predicting clinical outcomes in ANCA-related glomerulonephritis remains a major challenge. To date, there is no reliable biomarker able to predict renal prognosis in patients with ANCA-associated vasculitis (AAV). Micro-RNA (miRNA) are non-coding RNAs involved in the fine tuning of immune cells biology and this epigenetic modulation associates with different phenotypes and prognosis in several diseases.Objectives:To investigate the expression of miR-155 and miR-34a in kidney biopsies of AAV patients according with renal outcome.Methods:Fifteen patients with AAV and renal involvement (mean age 63.0 ±13.3 years, disease duration 4.9±2.2 months), who underwent renal biopsy. Demographic, clinical and autoimmune parameters were recorded for each patient. Each kidney biopsy was classified according to the Berden Classification, Risk group (according to the ANCA Renal Risk Score) and the chronicity Classification of the Mayo Clinic’s proposed score.MiR-155 and miR-34a expression was investigated on kidney biopsy tissue using the miRNeasy FFPE kit (Qiagen). The quantitative expression of miR-155, miR-34a and housekeeping gene U1, used as control, was assessed by Real Time-PCR. MiR-155 and miR-34a expression was correlated with histopathological and clinical-laboratory parameters.Each patient was followed for 12 months and renal outcome was considered according toKDIGO CKDClassification. Markers of inflammation (ESR, CRP) and urine analysis data were recorded at baseline and after 12 months.Results:Six (40%) patients were p-ANCA positive and 9 (60%) c-ANCA positive. Eight patients (53%) also had pulmonary involvement. The mean baseline GFR was 30.7±28.8 ml/min/1.73 m2and 10 patients (66%) showed an active urinary sediment.At disease onset, the mean expression of miR-155 was 9.5±21.1, while the expression of mir-34a was 13.1±46.2. Considering the autoimmune profile, kidney tissue of p-ANCA positive patients was enriched of mir-155 (19.6±30.6 fold) compared to c-ANCA positive patients (1.9±2.9 fold; p=0.001). Particularly, considering the renal function, kidney tissue of patients with greater impairment of renal function (KDIGO stage 5) was enriched of miR-155 (21.5±38.3 fold) compared to patients with less renal impairment (KDIGO stage 1-4) (4.72±8.16 fold, p=0.004).Tissue expression of miR-155 and miR-34a did not correlated with the abovementioned histopathological classifications.After 12 months from kidney biopsy, 3(20%) patients had a worsening of renal function, 5 (33%) still presented elevated markers of inflammation and 3 (20%) still had proteinuria at urine analysis. At baseline, kidney tissue of patients with higher CRP plasma levels and proteinuria at follow-up presented higher expression of miR-155 (p=0.002 and p=0.001), whereas no significant differences were found about miR-34a kidney tissue expression.Conclusion:MiRNAs may play a potential role in the pathogenesis of ANCA-related glomerulonephritis. MiR-155 kidney enrichment seems to mirror the disease inflammatory burden and activity at the onset and after 12 months representing a possible biomarker in ANCA vasculitis with renal involvement. This finding may represent the basis for further studies on miRNA expression in blood samples, aiming to identify a non-invasive biomarker of kidney damage, predicting disease’s relapses and patients’ prognosis.References:[1]Renauer et al, Clin Rev Allergy Immunol. 2016Disclosure of Interests:Dario Bruno: None declared, Pier Giacomo Cerasuolo: None declared, Clara Di Mario: None declared, Silvia Laura Bosello Speakers bureau: Abbvie, Pfizer, Boehringer, Laura Gigante: None declared, Alessia Musto: None declared, Gisella Vischini: None declared, Stefano Costanzi: None declared, Stefano Alivernini: None declared, Barbara Tolusso: None declared, Giuseppe Grandaliano: None declared, Elisa Gremese Speakers bureau: Abbvie, BMS, Celgene, Jannsen, Lilly, MSD, Novartis, Pfizer, Sandoz, UCB

Early childhood emotional dysregulation is critical in recognizing and preventing psychological well-being disorders, laying the groundwork for developing healthy emotional behaviors early on. This study aims to determine the direct influence of smartphone addiction, executive function, and the mother-child relationship on emotional dysregulation in early childhood in West Sumatra. This research method is a quantitative survey. The data collection technique in this research uses a questionnaire design on 309 parents who were selected using a simple random sampling method. This data processing tool uses the SmartPLS software. The results of the study indicate that smartphone addiction has a significant impact on emotional dysregulation in early childhood, executive function has a positive and significant effect on emotional dysregulation in early childhood, and the mother-child relationship has a positive and significant influence on emotional dysregulation in early childhood. 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El presente arti?culo es una reflexio?n sobre el papel desempen?ado por las mujeres de la regio?n geocultural de Villa Clara, Cuba, en el desarrollo musical en la antedicha zona, enfatizando en los diferentes roles de un grupo de mujeres que se desempen?aron o lo hacen en la actualidad como mu?sico, compositoras o pedagoga; recurriendo a una meta?fora que mueve a trave?s del tiempo la impronta de la mujer en la mu?sica villaclaren?a. Palabras clave: mujer, instrumentista, compositora, pedagoga. Abstract This article is a reflection on the role of women in the geo-cultural region of Villa Clara, Cuba, in the development of music in the above area, it emphasizes the different roles of a group of women who served or do today as a musician, composers, and pedagogues. It uses a metaphor that moves through time stamp of women in the music of Villa Clara. Keywords: woman, instrumentalist, composer, pedagogue.

El alumnado de la asignatura Didáctica de la Expresión Musical en Infantil de primer curso del Grado de Educación Infantil que se imparte en la Facultad de Ciencias de la Educación (Universidad de Córdoba) ha venido realizando durante los cursos 2010-2011/2016-2017 un trabajo interdisciplinar con un peso específico significativo dentro del sistema de evaluación. El cuento musicado, es decir, la simbiosis entre sonido, palabra y movimiento consiste en la dramatización de una historia original de libre elección como recurso para llevar a cabo una acción comunicativa. Gracias a ello, durante todo este tiempo han sido más de ochenta los trabajos grupales presentados por el alumnado, todos de contenido diverso. Partiendo de un estudio de tipo cuantitativo de las distintas temáticas propuestas, se pretende valorar en estos trabajos grupales hasta qué punto se han tenido en cuenta los principios de sostenibilidad, ya sean de carácter social, económico o medioambiental, y, por lo tanto, si existe una clara concienciación por parte del alumnado recién ingresado en la Universidad sobre la necesidad de un desarrollo curricular sostenible y, en caso afirmativo, cómo entienden el mismo. Asimismo, como propuesta de buenas prácticas, se describirá a modo de ejemplo una experiencia de cuento musicado en la que se ha tenido en cuenta la sostenibilidad curricular. Esta actividad fue realizada en el Centro de Formación del Profesorado “Luisa Revuelta” de Córdoba con docentes participantes de todos los niveles y especialidades como proyecto de innovación educativa.ABSTRACTFrom the school years of 2010-2011 to 2016-2017, students enrolled on the subject Didáctica de la Expresión Musical en Infantil taught in the first year of the degree on Early Childhood Education (Córdoba University) have been doing an interdisciplinary activity with a significant specific weight within the evaluation system of the subject: The tale with music. This is the symbiosis of sound, word and movement, consisting on the dramatization of an original story (freely chosen), seen as a resource to carry out a communicative action. Thanks to that, during all the referred period, there were more than eighty group work presented by the students, each one addressing diverse contents. Based on a quantitative research of the different topics proposed in those works, this paper aims to assess in what extent the principles of sustainability, faced in a social, economic or environmental perspective, have been taken into account, and, therefore, if there is a clear awareness on the part of the students recently admitted to the University about the need for a sustainable curricular development, as well as their understanding of its nature. Besides, as an example of good practices, an experience of a tale with music in which curricular sustainability has been taken into account will be described. The activity was created, as an educational innovation project, in the Teacher Training Center "Luisa Revuelta" of Córdoba, with the participation of teachers from all educational levels and specialties.

While keeping an eye on their family’s sheep and alpacas, Aymara boys in the Peruvian Andes play marbles. In their game they need to shoot the marbles over rocks and twigs and through clumps of grass as they aim for a row of small holes they have dug into the ground. The appeal of the game lies in how these rocks, twigs, clumps and holes acts as agents, and in where the marbles will be diverted to. Through this example, Smith (2017) highlights how it is not simply the case that children play with material toys. Toys – including the surface of the ground – also play with children. The current issue of Approaches contains articles stretching from music-making programmes to music therapy with groups, individuals, couples, and families, in diverse contexts such as a prison, community settings, an inpatient psychiatric care facility, private practice, and an arts therapies organisation. Rich in their own right, each of these papers also dialogue with one another. Holding While keeping in mind the story of the Peruvian boys and their marbles, we might hear a strand of dialogue emerging in relation to various notions of agency. These notions feed into wider debates about who (or what) the players are when music therapy “works.” Is the music therapist offering an “intervention” or “treatment”? What is role of the client and of musicking in the therapeutic outcome? What is the impact of the interrelations between therapist, client and music? What is the influence of the situated nature of the therapeutic encounter, including its sociocultural context? Alongside these considerations, further questions emerge about how music therapy works (including its spatial and temporal elements – the ‘where’ and ‘when’) and, indeed, about what we actually mean by saying music therapy “works.” Individualistic notions of agency champion lone individuals as holding within themselves the capacity to be actors. From this perspective, people are agents when they choose one course of action over another in order to produce a particular effect (Archer, 2003; Giddens, 1984). Various alternative perspectives are available however, some of which have long existed within indigenous knowledge systems (Enfield, 2017) and others that have more recently been integrated within Western critiques of individualised agency. Writing within relational sociology, Burkitt argues that people produce certain effects on each other and in the world “through their relational connections and joint actions, whether or not those effects are reflexively produced. In this relational understanding of agency, individuals are to be thought of as ‘interactants’ rather than as singular agents or actors” (Burkitt, 2016, p. 323). Furthermore, from the perspective of new materialism, the capacity for agency emerges within the intra-action between human and non-human elements (McPhie, 2019). Such notions of distributed agency have informed and continue to inform understandings of music therapy as a situated relational encounter where therapeutic musicking is co-created by human and non-human elements that are reciprocally formed through assemblages of people, places, bodies, musical instruments, institutions, policies, technologies, ideas, and so on. Ansdell (2014), for example, has promoted the concept of musical ecology taking into account the place, time, and people who use certain things, are involved in certain relationships, and who are all becoming part of the music therapy action. Similarly, Flower (2019) has used Ingold’s notion of meshwork to unpack how expertise is formed and enacted in music therapy along the interweaving trails of people, things, and places. In her research work, she endeavoured to navigate “through the ‘unevenness’ of the territory to not only trace the people, places, and activities through which music therapy’s work is achieved, but also to unpick, if possible, the meshwork within which they interweave” (Flower, 2019, p. 155). Instead of wondering whether it is the music therapist, the client, or the music that is doing the work, or how to balance the weight of each element most appropriately in the service of therapeutic outcomes, we could look at what is happening in the flow between such agents. Rather than limiting ourselves to asking only how, or where, or when, or with what, or why music therapy works, we could think with and play with how these facets come about through their intra- and inter-action. As you read this journal edition, we invite you to hold these considerations in mind. In this issue, Helen Odell-Miller, Jodie Bloska, Clara Browning and Niels Hannibal focus on the process and experience of change in the self-perception of women prisoners attending music therapy sessions in the UK. In this mixed-methods exploratory study, which is based on the doctoral research of the late Helen Leith, we see how agency was distributed (through participants, the music therapist, the song-writing process, entry points into other programmes required for resettlement, to name a few elements) within a care ecology that generated participants’ self-confidence. In a pilot case study, Peter McNamara, Ruyu Wang and Hilary Moss focus on the potential of music therapy to promote positive communication and emotional change for couples. By describing the shared musical space that was created in music therapy with a married couple in Ireland, their study shows how the intermingling of the music therapist, the couple, their memories, the song-writing process, the improvisation and the therapy room formed a care collective that could shift awkward interaction into expressive playfulness and a sense of shared agency. In her article, Rachel Swanick exploresthe impact of trauma on cognitive development in relation to music therapy with children and families. She argues that an important part of the therapist’s role is to reflect on why their work can be effective and on what they do together with the client that helps. This points to an exploration of the factors of effective therapy, and Swanick proposes a pilot project using the Swanick-Chroma Assessment of Supportive Factors (SCAF) questionnaire, which is based on Lambert’s four main factors of effective therapy: relationship/alliance, client characteristics, model of therapy, and expectancy. Kevin Kirkland and Samuel King write about a music therapy process-oriented intervention for adults who live with concurrent disorders. Drawing on their work in Canada with a group called ‘Rap and Recovery’, they explore how rap-based music therapy can create a dynamic space for clients and therapists to “question individual and collective commitments, relationships, and identities in attempts to rethink and re-engage understandings of health and wellness” (p. 70). They outline the intermingling of rap as a catalyst for social reform, the organisational context of the authors’ work, discourses of recovery, people’s own complex histories of wellbeing and struggle, and their sharing of life stories in music therapy. The emerging sense of distributed agency that could come about in this music therapy care collective is linked to participants’ sense of community, personal autonomy, and well-being. Lastly, Katrina Skewes McFerran and Jessica Higgins explore the Just Brass music programme for young people in Australia. With a focus on the role of leadership and facilitation in fostering connectedness and development, the authors interviewed a group of young leaders who had been involved in the programme. The findings show the interconnection between musicianship and wellbeing. The authors challenge methodological assumptions that tend to separate out the influence of leadership from the effect of the music in order to prove the wellbeing benefits of music. Overall, the contents of this issue – taken together with the book reviews and conference reports – offer varied perspectives and questions promoting further our understanding of the human-nonhuman intertwining in music and wellbeing practices. In the opening story, the nature and purpose of the Peruvian boys’ marble game comes about through an assemblage. Indeed, the marbles (and rocks and twigs, grass and holes) play with the boys as they play with these objects and with each other. By acknowledging joint action, distributed agency and the liveliness of matter (Bennett, 2010), we can open a space for the between in our work. Closing this editorial, we warmly welcome Lucy Bolger from University of Melbourne, Australia who recently joined our team as associate editor of Approaches. Lucy’s music therapy work with marginalised communities in Australia, Bangladesh and India, and her research interest in how the intersections of power and privilege influence people’s understanding and access to music therapy (Bolger, 2015; Bolger et al., 2018) resonate with the ethos of Approaches and can offer another lens for engaging with notions of agency as these emerge in this issue. References Ansdell, G. (2014). How music helps in music therapy and everyday life. Ashgate. Archer, M. S. (2003). Structure, agency and the internal conversation. Cambridge University Press. Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press. Bolger, L. (2015). Being a player: Understanding collaboration in participatory music projects with communities supporting marginalised young people. Qualitative Inquiries in Music Therapy, 10(3), 77-126. https://doi.org/10.1093/mtp/miy002 Bolger, L., McFerran, K. S., & Stige, B. (2018). Hanging out and buying in: Rethinking relationship building to avoid tokenism when striving for collaboration in music therapy. Music Therapy Perspectives, 36(2), 257-266. https://doi.org/10.1093/mtp/miy002 Burkitt, I. (2016). Relational agency: Relational sociology, agency and interaction. European Journal of Social Theory, 19(3), 322-339. https://doi.org/10.1177/1368431015591426 Enfield, N. J. (2017). Distribution of agency. In N. J. Enfield & P. Kockelman (Eds.), Distributed agency (pp. 9-14). Oxford University Press. Flower, C. (2019). Music therapy with children and parents: Toward an ecological attitude [Doctoral dissertation, Goldsmiths, University of London]. Goldsmiths Research Online, https://doi.org/10.25602/GOLD.00026132 Giddens, A. (1984). The constitution of society: Outline of the theory of structuration. Polity Press. McPhie, J. (2019). Mental health and wellbeing in the Anthropocene: A posthuman inquiry. Palgrave Macmillan. Smith, B. (2017). Distributed agency in play. In N. J. Enfield & P. Kockelman (Eds.), Distributed agency. Oxford University Press.

Our daily environment is surrounded by a paradoxically silent and invisible flow: the coming and going of data through our network cables, routers and wireless devices. This data is not just 1s and 0s, but bits of the conversations, images, sounds, thoughts and other forms of information that result from our interaction with the world around us. If we can speak of a global ambience, it is certainly derived from this constant flow of data. It is an endless murmur that speaks to our machines and gives us a sense of awareness of a certain form of surrounding that is independent from our actual, physical location. The constant “presence” of data around us is something that we have become largely aware of. Already in 1994, Phil Agre stated in an article in WIRED Magazine: “We're so accustomed to data that hardly anyone questions it” (1). Agre indicated that this data is in fact a representation of the world, the discrete bits of information that form the reality we are immersed in. He also proposed that it should be “brought to life” by exploring its relationships with other data and the world itself. A decade later, these relationships had become the core of the new paradigm of the World Wide Web and our interaction with cyberspace. As Mitchell Whitelaw puts it: “The web is increasingly a set of interfaces to datasets ... . On the contemporary web the data pour has become the rule, rather than the exception. The so-called ‘web 2.0’ paradigm further abstracts web content into feeds, real-time flows of XML data” ("Art against Information"). These feeds and flows have been used by artists and researchers in the creation of different forms of dynamic visualisations, in which data is mapped according to a set of parameters in order to summarise it in a single image or structure. Lev Manovich distinguishes in these visualisations those made by artists, to which he refers as “data art”. Unlike other forms of mapping, according to Manovich data art has a precise goal: “The more interesting and at the end maybe more important challenge is how to represent the personal subjective experience of a person living in a data society” (15). Therefore, data artists extract from the bits of information available in cyberspace a dynamic representation of our contemporary environment, the ambience of our digital culture, our shared, intimate and at the same time anonymous, subjectivity. In this article I intend to present some of the ways in which artists have dealt with the murmur of data creatively, exploring the immense amounts of user generated content in forms that interrogate our relationship with the virtual environment and the global community. I will discuss several artistic projects that have shaped the data flow on the Internet in order to take the user back to a state of contemplation, as a listener, an observer, and finally encountering the virtual in a physical form. Listening The concept of ambience particularly evokes an auditory experience related to a given location: in filmmaking, it refers to the sounds of the surrounding space and is the opposite of silence; as a musical genre, ambient music contributes to create a certain atmosphere. In relation to flows of data, it can be said that the applications that analyze Internet traffic and information are “listening” to it, as if someone stands in a public place, overhearing other people's conversations. The act of listening also implies a reception, not an emission, which is a substantial distinction given the fact that data art projects work with given data instead of generating it. As Mitchell Whitelaw states: “Data here is first of all indexical of reality. Yet it is also found, or to put it another way, given. ... Data's creation — in the sense of making a measurement, framing and abstracting something from the flux of the real — is left out” (3). One of the most interesting artistic projects to initially address this sort of “listening” is Carnivore (2001) by the Radical Software Group. Inspired by DCS1000, an e-mail surveillance software developed by the FBI, Carnivore (which was actually the original name of the FBI's program) listens to Internet traffic and serves this data to interfaces (clients) designed by artists, which interpret the provided information in several ways. The data packets can be transformed into an animated graphic, as in amalgamatmosphere (2001) by Joshua Davis, or drive a fleet of radio controlled cars, as in Police State (2003) by Jonah Brucker-Cohen. Yet most of these clients treat data as a more or less abstract value (expressed in numbers) that serves to trigger the reactions in each client. Carnivore clients provide an initial sense of the concept of ambience as reflected in the data circulating the Internet, yet other projects will address this subject more eloquently. Fig. 1: Ben Rubin, Mark Hansen, Listening Post (2001-03). Multimedia installation. Photo: David Allison.Listening Post (2001-04) by Mark Hansen and Ben Rubin is an installation consisting of 231 small electronic screens distributed in a semicircular grid [fig.1: Listening Post]. The screens display texts culled from thousands of Internet chat rooms, which are read by a voice synthesiser and arranged synchronically across the grid. The installation thus becomes a sort of large panel, somewhere between a videowall and an altarpiece, which invites the viewer to engage in a meditative contemplation, seduced by the visual arrangement of the flickering texts scrolling on each screen, appearing and disappearing, whilst sedated by the soft, monotonous voice of the machine and an atmospheric musical soundtrack. The viewer is immersed in a particular ambience generated by the fragmented narratives of the anonymous conversations extracted from the Internet. The setting of the piece, isolated in a dark room, invites contemplation and silence, as the viewer concentrates on seeing and listening. The artists clearly state that their goal in creating this installation was to recreate a sense of ambience that is usually absent in electronic communications: “A participant in a chat room has limited sensory access to the collective 'buzz' of that room or of others nearby – the murmur of human contact that we hear naturally in a park, a plaza or a coffee shop is absent from the online experience. The goal of Listening Post is to collect this buzz and render it at a human scale” (Hansen 114-15). The "buzz", as Hansen and Rubin describe it, is in fact nonexistent in the sense that it does not take place in any physical environment, but is rather the imagined output of the circulation of a myriad blocks of data through the Net. This flow of data is translated into audible and visible signals, thus creating a "murmur" that the viewer can relate to her experience in interacting with other humans. The ambience of a room full of people engaged in conversation is artificially recreated and expanded beyond the boundaries of a real space. By extracting chats from the Internet, the murmur becomes global, reflecting the topics that are being shared by users around the world, in an improvised, ever-changing embodiment of the Zeitgeist, the spirit of the time, or even a certain stream of consciousness on a planetary scale. Fig. 2: Gregory Chatonsky, L'Attente - The Waiting (2007). Net artwork. Photo: Gregory Chatonsky.The idea of contemplation and receptiveness is also present in another artwork that elaborates on the concept of the Zeitgeist. L'Attente [The Waiting] (2007) by Gregory Chatonsky is a net art piece that feeds from the data on the Internet to create an open, never-ending fiction in real time [Fig.2: The Waiting]. In this case, the viewer experiences the artwork on her personal computer, as a sort of film in which words, images and sounds are displayed in a continuous sequence, driven by a slow paced soundtrack that confers a sense of unity to the fragmented nature of the work. The data is extracted in real time from several popular sites (photos from Flickr, posts from Twitter, sound effects from Odeo), the connection between image and text being generated by the network itself: the program extracts text from the posts that users write in Twitter, then selects some words to perform a search on the Flickr database and retrieve photos with matching keywords. The viewer is induced to make sense of this concatenation of visual and audible content and thus creates a story by mentally linking all the elements into what Chatonsky defines as "a fiction without narration" (Chatonsky, Flußgeist). The murmur here becomes a story, but without the guiding voice of a narrator. As with Listening Post, the viewer is placed in the role of a witness or a voyeur, subject to an endless flow of information which is not made of the usual contents distributed by mainstream media, but the personal and intimate statements of her peers, along with the images they have collected and the portraits that identify them in the social networks. In contrast to the overdetermination of History suggested by the term Zeitgeist, Chatonsky proposes a different concept, the spirit of the flow or Flußgeist, which derives not from a single idea expressed by multiple voices but from a "voice" that is generated by listening to all the different voices on the Net (Chatonsky, Zeitgeist). Again, the ambience is conceived as the combination of a myriad of fragments, which requires attentive contemplation. The artist describes this form of interacting with the contents of the piece by making a reference to the character of the angel Damiel in Wim Wenders’s film Wings of Desire (Der Himmel über Berlin, 1987): “to listen as an angel distant and proximate the inner voice of people, to place the hand on their insensible shoulder, to hold without being able to hold back” (Chatonsky, Flußgeist). The act of listening as described in Wenders's character illustrates several key aspects of the above mentioned artworks: there is, on the one hand, a receptiveness, carried out by the applications that extract data from the Internet, which cannot be “hold back” by the user, unable to control the flow that is evolving in front of her. On the other hand, the information she receives is always fragmentary, made up of disconnected parts which are, in the words of the artist Lisa Jevbratt, “rubbings ... indexical traces of reality” (1). Observing The observation of our environment takes us to consider the concept of landscape. Landscape, in its turn, acquires a double nature when we compare our relationship with the physical environment and the digital realm. In this sense, Mitchell Whitelaw stresses that while data moves at superhuman speed, the real world seems slow and persistent (Landscape). The overlapping of dynamic, fast-paced, virtual information on a physical reality that seems static in comparison is one of the distinctive traits of the following projects, in which the ambience is influenced by realtime data in a visual form that is particularly subtle, or even invisible to the naked eye. Fig. 3: Carlo Zanni, The Fifth Day (2009). Net artwork. Screenshot retrieved on 4/4/2009. Photo: Carlo Zanni. The Fifth Day (2009) by Carlo Zanni is a net art piece in which the artist has created a narration by displaying a sequence of ten pictures showing a taxi ride in the city of Alexandria [Fig.3: The Fifth Day]. Although still, the images are dynamic in the sense that they are transformed according to data retrieved from the Internet describing the political and cultural status of Egypt, along with data extracted from the user's own identity on the Net, such as her IP or city of residence. Every time a user accesses the website where the artwork is hosted, this data is collected and its values are applied to the photos by cloning or modifying particular elements in them. For instance, a photograph of a street will show as many passersby as the proportion of seats held by women in national parliament, while the reflection in the taxi driver's mirror in another photo will be replaced by a picture taken from Al-Jazeera's website. Zanni addresses the viewer's perception of the Middle East by inserting small bits of additional information and also elements from the viewer's location and culture into the images of the Egyptian city. The sequence is rendered as the trailer of a political thriller, enhanced by a dramatic soundtrack and concluded with the artwork's credits. As with the abovementioned projects, the viewer must adopt a passive role, contemplating the images before her and eventually observing the minute modifications inserted by the data retrieved in real time. Yet, in this case, the ambience is not made manifest by a constant buzz to which one must listen, but quite more subtly it is suggested by the fact that not even a still image is always the same. As if observing a landscape, the overall impression is that nothing has changed while there are minor transformations that denote a constant evolution. Zanni has explored this idea in previous works such as eBayLandscape (2004), in which he creates a landscape image by combining data extracted from several websites, or My Temporary Visiting Position from the Sunset Terrace Bar (2007), in which a view of the city of Ahlen (Germany) is combined with a real time webcam image of the sky in Naples (Italy). Although they may seem self-enclosed, these online, data-driven compositions also reflect the global ambience, the Zeitgeist, in different forms. As Carlo Giordano puts it: "Aesthetically, the work aims to a nearly seamless integration of mixed fragments. The contents of these parts, reflecting political and economical issues ... thematize actuality and centrality, amplifying the author's interest in what everybody is talking about, what happens hic et nunc, what is in the fore of the media and social discourse" (16-17). A landscape made of data, such as Zanni's eBayLandscape, is the most eloquent image of how an invisible layer of information is superimposed over our physical environment. Fig. 4: Clara Boj and Diego Díaz, Red Libre, Red Visible (2004-06). Intervention in the urban space. Photo: Lalalab.Artists Clara Boj and Diego Díaz, moreover, have developed a visualisation of the actual flows of data that permeate the spaces we inhabit. In Red Libre, Red Visible [Free Network, Visible Network] (2004-06), Boj and Díaz used Augmented Reality (AR) technology to display the flows of data in a local wireless network by creating AR marker tags that were placed on the street. A Carnivore client developed by the artists enabled anyone with a webcam pointing towards the marker tag and connected to the Wi-Fi network to see in real time the data packets flowing from their computer towards the tag [Fig.4: Red Libre]. The marker tags therefore served both as a tool for the visualisation of network activity as well as a visual sign of the existence of an open network in a particular urban area. Later on, they added the possibility of inserting custom made messages, 3D shapes and images that would appear when a particular AR marker tag was seen through the lens of the webcam. With this project, Boj and Díaz give the user the ability to observe and interact with a layer of her environment that was previously invisible and in some senses, out of reach. The artists developed this idea further in Observatorio [Observatory] (2008), a sightseeing telescope that reveals the existence of Wi-Fi networks in an urban area. In both projects, an important yet unnoticed aspect of our surroundings is brought into focus. As with Carlo Zanni's projects, we are invited to observe what usually escapes our perception. The ambience in our urban environment has also been explored by Julian Oliver, Clara Boj, Diego Díaz and Damian Stewart in The Artvertiser (2009-10), a hand-held augmented reality (AR) device that allows to substitute advertising billboards with custom made images. As Naomi Klein states in her book No Logo, the public spaces in most cities have been dominated by corporate advertising, allowing little or no space for freedom of expression (Klein 399). Oliver's project faces this situation by enabling a form of virtual culture jamming which converts any billboard-crowded plaza into an unparalleled exhibition space. Using AR technology, the artists have developed a system that enables anyone with a camera phone, smartphone or the customised "artvertiser binoculars" to record and substitute any billboard advertisement with a modified image. The user can therefore interact with her environment, first by observing and being aware of the presence of these commercial spaces and later on by inserting her own creations or those of other artists. By establishing a connection to the Internet, the modified billboard can be posted on sites like Flickr or YouTube, generating a constant feedback between the real location and the Net. Gregory Chatonsky's concept of the Flußgeist, which I mentioned earlier, is also present in these works, visually displaying the data on top of a real environment. Again, the user is placed in a passive situation, as a receptor of the information that is displayed in front of her, but in this case the connection with reality is made more evident. Furthermore, the perception of the environment minimises the awareness of the fragmentary nature of the information generated by the flow of data. Embodying In her introduction to the data visualisation section of her book Digital Art, Christiane Paul stresses the fact that data is “intrinsically virtual” and therefore lacking a particular form of manifestation: “Information itself to a large extent seems to have lost its 'body', becoming an abstract 'quality' that can make a fluid transition between different states of materiality” (Paul 174). Although data has no “body”, we can consider, as Paul suggests, any object containing a particular set of information to be a dataspace in its own. In this sense, a tendency in working with the Internet dataflow is to create a connection between the data and a physical object, either as the end result of a process in which the data has been collected and then transferred to a physical form, or providing a means of physically reshaping the object through the variable input of data. The objectification of data thus establishes a link between the virtual and the real, but in the context of an artwork it also implies a particular meaning, as the following examples will show.Fig. 5: Gregory Chatonsky, Le Registre - The Register (2007). Book shelf and books. Photo: Pau Waelder. In Le Registre [The Register] (2007), Gregory Chatonsky developed a software application that gathers sentences related to feelings found on blogs. These sentences are recorded and put together in the form a 500-page book every hour. Every day, the books are gathered in sets of 24 and incorporated to an infinite library. Chatonsky has created a series of bookshelves to collect the books for one day, therefore turning an abstract process into an object and providing a physical embodiment of the murmur of data that I have described earlier [Fig.5: Le Registre]. As with L'Attente, in this work Chatonsky elaborates on the concept of Flußgeist, by “listening” to a specific set of data (in a similar way as in Hansen and Rubin's Listening Post) and bringing it into salience. The end product of this process is not just a meaningless object but actually what makes this work profoundly ironic: printing the books is a futile effort, but also constitutes a borgesque attempt at creating an endless library of something as ephemeral as feelings. In a similar way, but with different intentions, Jens Wunderling brings the online world to the physical world in Default to Public (2009). A series of objects are located in several public spaces in order to display information extracted from users of the Twitter network. Wunderling's installation projects the tweets on a window or prints them in adhesive labels, while informing the users that their messages have been taken for this purpose. The materialisation of information meant for a virtual environment implies a new approach to the concept of ambiance as described previously, and in this case also questions the intimacy of those participating in social networks. As the artist puts it: "In times of rapid change concerning communication behavior, media access and competence, the project Default to Public aims to raise awareness of the possible effects on our lives and our privacy" (Wunderling 155). Fig. 6: Moisés Mañas, Stock (2009). Networked installation. Photo: Moisés Mañas. Finally, in Stock (2009), Moisés Mañas embodies the flow of data from stock markets in an installation consisting of several trench coats hanging from automated coat hangers which oscillate when the stock values of a certain company rise. The resulting movement of the respective trench coat simulates a person laughing. In this work, Mañas translates the abstract flow of data into a clearly understandable gesture, providing at the same time a comment on the dynamics of stock markets [Fig.6: Stock]. Mañas´s project does not therefore simply create a physical output of a specific information (such as the stock value of a company at any given moment), but instead creates a dynamic sculpture which suggests a different perception of an otherwise abstract data. On the one hand, the trenchcoats have a ghostly presence and, as they move with unnatural spams, they remind us of the Freudian concept of the Uncanny (Das Umheimliche) so frequently associated with robots and artificial intelligence. On the other hand, the image of a person laughing, in the context of stock markets and the current economical crisis, becomes an ironic symbol of the morality of some stockbrokers. In these projects, the ambience is brought into attention by generating a physical output of a particular set of data that is extracted from certain channels and piped into a system that creates an embodiment of this immaterial flow. Yet, as the example of Mañas's project clearly shows, objects have particular meanings that are incorporated into the artwork's concept and remind us that the visualisation of information in data art is always discretionary, shaped in a particular form in order to convey the artist's intentions. Beyond the Buzz The artworks presented in this article revealt that, beyond the murmur of sentences culled from chats and blogs, the flow of data on the Internet can be used to express our difficult relationship with the vast amount of information that surrounds us. As Mitchell Whitelaw puts it: “Data art reflects a contemporary worldview informed by data excess; ungraspable quantity, wide distribution, mobility, heterogeneity, flux. Orienting ourselves in this domain is a constant challenge; the network exceeds any overview or synopsis” (Information). This excess is compared by Lev Manovich with the Romantic concept of the Sublime, that which goes beyond the limits of human measure and perception, and suggests an interpretation of data art as the Anti-Sublime (Manovich 11). Yet, in the projects that I have presented, rather than making sense of the constant flow of data there is a sort of dialogue, a framing of the information under a particular interpretation. Data is channeled through the artworks's interfaces but remains as a raw material, unprocessed to some extent, retrieved from its original context. These works explore the possibility of presenting us with constantly renewed content that will develop and, if the artwork is preserved, reflect the thoughts and visions of the next generations. A work constantly evolving in the present continuous, yet also depending on the uncertain future of social network companies and the ever-changing nature of the Internet. The flow of data will nevertheless remain unstoppable, our ambience defined by the countless interactions that take place every day between our divided self and the growing number of machines that share information with us. References Agre, Phil. “Living Data.” Wired 2.11 (Nov. 1994). 30 April 2010 ‹http://www.wired.com/wired/archive/2.11/agre.if.html›. Chatonsky, Gregory. “Flußgeist, une fiction sans narration.” Gregory Chatonsky, Notes et Fragments 13 Feb. 2007. 28 Feb. 2010 ‹http://incident.net/users/gregory/wordpress/13-flusgeist-une-fiction-sans-narration/›. ———. “Le Zeitgeist et l'esprit de 'nôtre' temps.” Gregory Chatonsky, Notes et Fragments 21 Jan. 2007. 28 Feb. 2010 ‹http://incident.net/users/gregory/wordpress/21-le-zeigeist-et-lesprit-de-notre-temps/›. Giordano, Carlo. Carlo Zanni. Vitalogy. A Study of a Contemporary Presence. London: Institute of Contemporary Arts, 2005. Hansen, Mark, and Ben Rubin. “Listening Post.” Cyberarts 2004. International Compendium – Prix Ars Electronica 2004. Ed. Hannes Leopoldseder and Christine Schöpf. Ostfildern: Hate Cantz, 2004. 112-17. ———. “Babble Online: Applying Statistics and Design to Sonify the Internet.” Proceedings of the 2001 International Conference on Auditory Display, Espoo, Finland. 30 April 2010 ‹http://www.acoustics.hut.fi/icad2001/proceedings/papers/hansen.pdf›. Jevbratt, Lisa. “Projects.” A::minima 15 (2003). 30 April 2010 ‹http://aminima.net/wp/?p=93&language=en›. Klein, Naomi. No Logo. [El poder de las marcas]. Barcelona: Paidós, 2007. Manovich, Lev. “Data Visualization as New Abstraction and Anti-Sublime.” Manovich.net Aug. 2002. 30 April 2010 ‹http://www.manovich.net/DOCS/data_art_2.doc›. Paul, Christiane. Digital Art. London: Thames & Hudson, 2003. Whitelaw, Mitchell. “Landscape, Slow Data and Self-Revelation.” Kerb 17 (May 2009). 30 April 2010 ‹http://teemingvoid.blogspot.com/2009/05/landscape-slow-data-and-self-revelation.html›. ———. “Art against Information: Case Studies in Data Practice.” Fibreculture 11 (Jan. 2008). 30 April 2010 ‹http://journal.fibreculture.org/issue11/issue11_whitelaw.html›. Wunderling, Jens. "Default to Public." Cyberarts 2009. International Compendium – Prix Ars Electronica 2004. Ed. Hannes Leopoldseder, Christine Schöpf and Gerfried Stocker. Ostfildern: Hate Cantz, 2009. 154-55.

This volume brings together empirical studies on language and speech as well as on their linkage with musical-sound elements in the media (radio, audio guide, audio book, radio play as well as YouTube and Instagram videos). The contributions are primarily concerned with auditory comprehensibility and sound aesthetics, with the medial target group and format specificity of radio genres and other media offerings, and with the speech effects of medial genres, also in cultural comparison. German and Russian news formats, standardized short moderations in several countries, gender constructions in double moderations of German radio primetime, soccer reports, audio guides for children, audio books read aloud and freely narrated, Instagram stories and Youtube educational videos, as well as hip-hop radio as educated radio will be examined. Ines Bose, Prof. Dr. phil. habil., is at the Department of Speech Science and Phonetics at Martin Luther University Halle-Wittenberg. Clara Luise Finke, Dr. phil., is head of the Department of Speech Science at the University of Leipzig. Anna Schwenke, Dr. phil., works at the University of Greifswald as a research assistant in the German Department of the Elementary School Teacher Training Program.

Abstract This chapter explores a series of intertextual webs present in a group of chamber pieces Lavista wrote in close collaboration with performers such as Marielena Arizpe, Leonora Saavedra, and Cuarteto Latinoamericano. The creative intimacy Lavista fostered with his collaborators, which started in 1979 and continued throughout the 1980s, was a crucial step in solidifying his compositional style. These pieces, which incorporate extended techniques and an intertextual play with poetic references, are also examples of Lavista’s affective relationship with the literary arts. Whether from his pen or from the writings of others, producing and promoting texts centered around music was another manifestation of his creativity. The journal Pauta: Cuadernos de teoría y crítica musical—founded and directed by Lavista—is discussed as an extension of Lavista’s creativity and his affective relationships with collaborators, music, literature, and the visual arts. Pauta responded to an urgent need for music-centered texts in Spanish and played a seminal role in contemporary music scenes throughout the Spanish-speaking world.

Abstract Christian Kaden opened this Round Table by pointing out that a ‘decisive breakthrough’ was reached in music sociology when music began to be seen no longer as ‘an image or an imitation of social reality’, but rather as ‘a social reality in itself, a form of human life’. The view that music is a ‘form of life’ was traditionally held by music anthropologists and many ethnomusicologists too, whose research focused on the human and social meanings implied by different kinds of musical behaviour, events, and interactive group communication, and, more generally, on music-making as a basic form of being human. But what is happening in music and music disciplines at the end of the twentieth century challenges this well-established way of studying music, not only because scholars today question ‘the possibility of a neutral and objective understanding both of music from other times ... and of musics belonging to other cultures or traditions’, to quote from Mario Vieira de Carvalho (see below), but, first and foremost, because in recent decades many forms of musical life have undergone far-reaching changes. Many musical practices have been abandoned or are seriously endangered, particularly those belonging to communities once characterized by a widely shared capability of making music and interacting through it. A few years ago Steve Feld opened his presentation of a CD of the music of the Kaluli (Papua New Guinea) thus: ‘Kaluli ceremonial life has stopped; people have sold or burned their dance paraphernalia.